Ah, you go to mountains in Switerland with those characteristics and then record. Actually I like to think of it as a reverb swell and the up above previous postings but think it can be done with one reverb unit of the right stuff.

Thanks for all the help people. I added a send on the main vocal to a separate bus with, for the moment, EQ-Breverb2-PC4K S-type compressor ProChannel modules.

That makes for a lot of things to adjust and they all interact a lot.

At first I had just the highs coming out of the EQ but after Guitarhacker's comment I went to a bell shape and it does sound better. I've also found that compressing the heck out of it seems to help, but the noise floor is then pretty bad.

When I bring this buss into the mix there is a very distinct point between a voice that is too up front/small room and a voice lost in space. A point where the voice just fills out, really cool.

I still have to play around a lot with this, but I can see where things are going. I like Danny's idea of adding some whispering air as an overdub but that will have to wait for my daughter to get around to recording that. Her voice is not at all airy (she's an alto) so that doesn't help.

And I'm not sure she'll appreciate what I've done to her voice :-)

spacealf, I just noticed the reverb swelling as well. It even seems to cycle in some spots.

I'm going to add some automation to things since there are places in my (daughter's) song where the long tail sounds good, but others where it doesn't.
The swelling is cool.

but in interviews she's said it's all conventional overdubs. Lots and lots of them.

That's what I've heard/read in the past...
LOTS of overdubs...
The "airy" version of Queen's overdub/stacking techniques.